First published in 1954 by Isolde Ahlgrimm - Erich Fiala, Vienna, with a thorough commentary, in the companion text to the Philips recording of “The Well-tempered Clavier” Part II; republished in 1958 by Besseler (V). Acquired in 1935 from a Vienna antiquarian. Primitive painting technique with chalks (portrait black; background blue) on a ground of ox-gall; contours arc partially smudged and have been badly retouched. Obviously made by an amateur admirer of Bach’s in the late 18th century, as witness also the classical frame with rows of pearls and rosettes in the corners. Probable derivation from the Kanth/Donebauer silhouette (B-52) but a reversed image, because the outline was traced from the model on to the glass plate, while the very clumsy inscription “Johann Sebastian Bach” seems to have been painted afterwards on the back of the glass. For the question of authenticity of the silhouette probably used as a model cf. B-52.